REVIEW: ‘Conclave’ a soap opera disguised as high drama

Only in cinema and literature are we allowed to infiltrate worlds that are otherwise secret and forbidden. When a story offers a glimpse into such a world — especially one tied to a global news event like the election of a new pope — it comes with a certain thrill.

Conclave invites us into the internally scandalous papal conclave, a process that Dan Brown’s Angels & Demons famously popularized. So, imagine the pageantry, the rituals, all set within a lavish, elegant production. Expectations naturally soar, right?

In Edward Berger’s adaptation of Robert Harris’s 2016 book of the same title, we don’t just bank on its Oscar-buzzworthy cast but also on its promise of a large-scope drama-thriller exploring church politics and internal power struggles.

The challenge for Berger in adapting a fictional story tied to the already controversial Catholic Church is simple yet daunting: what can still shock us? If you’ve followed the scandals and crises within global religions, particularly Catholicism, it’s easy to feel desensitized. As someone who read David Yallop’s investigative In God’s Name during my younger years, I found myself surprisingly blasé throughout the film.

The movie’s burden, then, is to deliver on character depth and storytelling. It needs to present its scandals, twists, and turns in a way that genuinely titillates. The characters should be richly drawn — flawed individuals whose offenses might echo real-life church controversies but still offer unexpected twists. For example, imagine a cardinal whose past crimes might shock us anew despite the familiarity of the sin.

Unfortunately, Conclave doesn’t deliver scandals juicy enough, and the one-dimensional, predictable script further dilutes any potential impact. That said, Berger’s strength lies in his clear, coherent storytelling, which never strays from its focus.

The film’s sharp point of view comes through Cardinal Lawrence (Ralph Fiennes), who oversees the conclave as the Dean of the College of Cardinals. Fiennes delivers a superb performance, portraying a man consumed by doubt, but his character lacks depth, leaving much to be desired.

The story centers on the factions among the cardinals, whose humanity and mortality are laid bare as they grow increasingly panicked over who will become the next pope. The contenders represent opposing ideologies, some are driven by ambition, others by a desire for reformation.

Will the new pope be ultra-conservative like Cardinal Tedesco (Sergio Castellitto)? Or progressive like Cardinal Bellini (Stanley Tucci), who supports homosexuality, women priests, and divorce? There’s the surprising war-literate Cardinal Benitez (Carlos Diez), the homophobic but compelling Cardinal Adeyemi (Lucian Msamati), and the seemingly “safe bet” Cardinal Tremblay (John Lithgow), whose trustworthiness remains in question.

Isabella Rossellini, meanwhile, is criminally underused as a nun who lurks in the background, leaving you waiting for her to do something more than blurt out something mediocre. While I usually enjoy dialogue-driven films, this one feels bland, though never outright boring.

Conclave ultimately feels like a film wrapped in the image of sophistication and intellect but, at its core, is a shallow soap opera. Watching it is like being served an elegantly plated dish at an expensive restaurant, only to feel underwhelmed with every bite.

It’s melodrama disguised as understated acting with lush visuals. There are some bright spots — speeches on doubt and faith, and the intriguing depiction of how the Church bends moral issues to fit its leaders and the political climate — rather than sticking to Christ’s fundamental teachings. The cardinals’ polarizing stances on moral issues offer fleeting moments of engagement. But in the end, Conclave barely qualifies as a contender for the best films of the year.

2.5 out of 5 stars

Now showing in cinemas.